A Comparative study of the artistic traditions of ancient Persia(Sassanid) and tablet graphics of Shahnameh Qavam-al-Din Hassan in 14th AD century (Text in Persian)Adham Zargham*, Nazanin Najd-MofarrahPages 5-15Abstract Full Text [PDF 1238KB]

Facing cultural and political domination of the Mongols in the 13th and 14th AD centuries، Shiraz and art schools were spared the Mongol invasion the range. In order to confront the artistic and cultural domination of the aggressors، Al Injou rulers who were literate revived cultural and artistic traditions of ancient Persia and hidden heritage in this great civilization once again. The results of this approach have been manifested as in works of this period especially “Shahn ameh Qavam-al-Din Hassan” in 741AD. In this article the researchers try to check the Qavameddin Shahnama tablet graphics and compare them with the artistic traditions of ancient Persia (Sassanid era)، to find and distinguish their simi larities and finally the amount of influence that these two tablet graphics have accepted by some current principles and practices of Sassanid art. The present research through comparing the similarities between these two artistic structures provides a great deal of thematic and structural contributions that are more significant than their differences. The research method of this research is descriptive-analytical and the method of collecting materials is also a library research.

The investigation of the hero’s archetypal travel pattern in the works of Majid Majidi from the viewpoints of Joseph Campbell and Islamic mysticism (Text in Persian)Sayed Najmedin Amir-shahkarami *, Shahrzad AmirPages 16-29Abstract Full Text [PDF 480KB]

Investigating the evolution of the main characters with regard to hero’s journey template، this research work studies the narratives of Majid Majidi’s movies، applying qualitative research method in data gathering and analysis. In perception of journey’s concept، one meaning is to move from a place and passing through stages of the way in order to reach a destination. Journey template includes those contents that have been regarded both in mythology and morphology fields of stories as well as under mystical topics. In other words، inner and outer journey of human being as hero is the theme of a large number of performing works and dramatic shows that influence hearts directly and strongly and affects minds of different audiences from nations around the globe. Reviewing Majidi’s movies، adaptation of archetype of hero’s journey is analyzed in the works from the views of Joseph Campbell and Islamic mysticism. Feasibility to select eight cases of study such as Baran، Baduk، Khoda Miad (God Comes)، The Father، Children of Heaven، The Color of Paradise، The Willow Tree and The Song of Sparrows enables the researchers to investigate the hero’s journey of each work according to the character’s activities. Findings indicate how the main characters experience their inner، outer and combining both types of journeys. In the stories، they as heroes come across occurrences that inevitably involve them in situations where they have to go through unknown or risky journeys. Considering such a concept in Islamic mysticism in relation to the main characters، there are further aspects to consider. Journey is important and has been respected in Islamic mysticism which implies: human being is in a journey since the beginning of the creation until resurrection day. Similarly، in this context the mentioned types of journeys also are agents of human evolution. Looking at these texts، at least three meanings exist; its most prevalent one reflects the concept of travelling around on the earth to percept different horizons. In contrast there is spiritual journey through which one hesitates to do improper and immoral deeds in hoping to be accepted by God. Campbell classifies the hero’s journey in three key stages as departure، initiation and return. A journey can be commenced when ‘call to adventure’ arises، sometimes hero tends or makes decision to accept that and another time he/she has to go where he/she is driven to. ‘Call to adventures’ in the movies of Majidi commonly invites the heroes to an outer journey from the society’s coercion where they have to live in. Most of the heroes’ journeys spend in ‘initiation’، the longest stage in the Campbell’s template. Majidi’s approach tends mostly to social experiences that finally turn into mystical mood whereas it has mystical-spiritual concept in his works، Khoda Miad، The Color of Paradise and The Willow Tree. All the heroes in these cases are looking for happiness; however، it is deferent in everyone’s mind. Finally، this determines how the hero passes through the journey template.

Calligraphy، especially calligraphy painting، represents a rich culture of Iran. It is a term used to describe a color-coded version in which traditional calligraphy techniques are used. In abstract art، the aesthetic values of the work are repre sented in shape and color، which results in semi-magic artwork as well as excellent decorative art. Sedaqat Jabari is one of the leading painters in the field. In this paper، with the aim of analyzing the effects of calligraphy painting of Jabari in the field of abstraction، the researchers tried to answer the following questions: 1) what are the visual elements in the works of Jabari? 2) On what art skills is the association of the abstract space in the works of Jabari based? The find ings of this study include Jabari’s use of visual elements such as surface، color، and the presentation of various types of textures and the achievement of various combinations and abstract forms. The data for this article are collected through library and field data، and the design is descriptive. The results of the research show that Jabari’s works are based on Siyah-mashq (black practice) and they are also fundamentally religious in nature، and show an eclectic combination of tradition and modernism.

Keywords: calligraphy, painting, abstract, Sedaghat Jabari

The Qualification of Shahnameh based on the triple patterns of adaptation for writing screen gameplay (Text in Persian)Fatemeh Solemanipour *Pages 49-61Abstract Full Text [PDF 458KB]

The language of video games as a universal language with global perspective provides communication among humans from every culture and race anytime and anywhere. On the other hand، the works originated from the customs and culture of our country are good raw materials to harmonize between two media of videogames and literature. The dif ference between the nature of literature، relying on its written words and purposes، with video games which creates images for its audience، provides a good opportunity for the production of cultural goods for introducing the heritage of Persian literature through videogames in national and international arena. Adaptation as the art of transforming the motifs of the system of literary text into the visual system becomes a good approach to harmonize literature and visual media. Discovering common areas of expression between the source of adaptation and the produced text is the most important and most effective way for maintaining artistic values and conveying the spirit of work. In the process of adaptation، identifying structural commonalities between videogames and Iran’s rich literature. With a focus on Shahn ameh، three practical models are provided to restore the text of Shahnameh to videogames and gameplays. The three models –selection of individual lines of poem، selection of individual topics، and selection of poems according to the genres of computer games– is based on Dudley-Andrew’s (1945) views، as a contemporary theorist in the areas of theory and aesthetics of cinema، who has raised three fundamental relationship between adaptation and a literary text: Loyalty، Borrowing، and Confluence.

Keywords: adaptation, videogames, screen gameplay, Shahnameh

A Comparative study of symbolism in architectural spaces and the dramatic literature text in Maurice Maeterlinck’s play The Blue Bird (Text in Persian)Siroos Jamali , Parvin Farazmand *Pages 63-74Abstract Full Text [PDF 495KB]

A symbol is a mark or word that indicates، signifies، or is understood as representing an idea، object، or relationship. It is something that is represented by something else and a physical object that stands for another object، person، or idea. It is the sign of the object or something that adds to the feeling of an object or the other. In this way، the artist offers facts، not directly but as symbols. Symbolism is the representation of one thing for another using a person، object، or idea. It is also a powerful force for communicating meaning; certain themes or ideas affect the mind of the audience more pro foundly when presented indirectly through a symbol than when presented overtly. However، symbolism has a different usage in different aspects of art and symbols appear differently and in every course are unique and the meaning of this word in psychology or literature، drama، architecture، etc... are not the same. In architecture، it`s clear that architecture is not simply the ‘design of buildings’ that are mere physical enclosures. On the contrary، it is an expression of thoughts، preferences، beliefs and emotions in built form، symbolically communicating and imparting relevance to its users. In that field، architects can use patterns to shape the building and create unique buildings with the same patterns. Symp toms can be a contributing factor in promoting a sense of place with the audience. On the other hand، dramatic art is another aspect of art that uses symbols and symbolism. There are many kinds of symbols. Normally، dramatists weave clues into the work to indicate that certain elements are intended to be taken as symbols. The Blue Bird is a famous play in symbolism whose text and places have symbols in themselves. In this study، the researchers aimed to compare the differences and similarities of symbolism features in dramatic literature and architecture in Maurice Maeterlinck’s play The Blue Bird. The method used is descriptive analytical and the tools used are library studies and analysis of data from library studies. As a result، in some cases، places can create imagination and viewers can percept what they are، and the pain and sorrow can be shown in physical elements. Also we can use physical elements in writings and dramas with words and emotions. Using words، geometry and decorations، ideas and elements engage emotions of the reader.

This article reviews the element of “violence” in two French plays; “Electre” (by Jean Giraudoux) and “Flies” (by Jean Paul Sartre)، both of which are adopted from an ancient tragedy “Electre” and published about the Second World War. After two world wars in Europe، one of the issues that concern greatly the French dramatists was mythical subjects by the nature of violence which corresponded with critical and political attitudes of 20th century thinkers. At the time، ancient Greek mythology، and in particular the famous siege of Thebes and Trojan came to spotlight، in which the first city was demolished in dust and blood and the second one was fired. The story of “Electre”، which focuses on violence and revenge after the Trojan War، was the source of creation of many dramas which on one hand correspond with the escalation of violence by “Hitler” in World War II، and on the other hand contain many examples that could easily re flect a lot of intellectual and moral ideologies of the age. “Jean Giraudoux” and “Jean-Paul Sartre” are two of the French playwrights of twentieth century which used adaptation of these plays in the midst of and during the Second World War to offer their own thoughts. Jean Giraudoux in 1937 and Jean-Paul Sartre in 1943 released a new adaptation of “Electre” which discuss the conception of violence in deep. This article tries to compare these two plays structurally، and then it will follow by reviews on the conception of violence. On this research، at first، the researchers will have a quick look at the introduction of the story “Electre” in mythology and ancient Greek tragedies. Then two adaptations of Giraudoux and Sartre will be introduced and compared and finally the researchers will compare both plays from “nature of vio lence” perspective. It is worth noting this article is a comparative research and the research method is library research and descriptive. In this way، first of all the researchers briefly compare the structure of three remained tragedies from ancient Greece، then two adaptations of Giraudoux and Sartre will be compared in terms of form and content and finally reflection and nature of violence would be compared in both adaptations of these two French authors.